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The final Falcon is made up of 50 unique meshes. First thing that had to be done was to break up the iconic ship into several pieces, each with its own unique material. Only a quick, simple UV pass was required for lightmap baking.Īs for the Falcon, that was a whole different animal. Most of our building materials use world-space projected textures eliminating the need for time-consuming UV work. The Buildings and large structures are modeled to their final low-poly state and brought into UE4 without any high to low baking as they mostly use tileable plaster and metal textures.

Final texturing pass (most of us use Quixel Suite, a few use Substance Painter).

Add micro details to the normal, AO and curvature maps.

Bake Tangent Space Normal Maps/AO Maps/and Curvature Maps.

Small micro-normal map details are painted or sculpted in Via Zbrush, Quixel, or Substance Painter)

Build out high-ploy mesh for baking (our high poly meshes are typically only used to generate beveled edges in our normal maps.

Most of us are 3ds Max users, so it basically goes like this: For the most part, everyone else on the team has followed my process. For the prop assets in the scene, I came up with a pipeline early on to achieve a high quality end result, but also to be able to get them done quickly. We broke the assets up into 3 categories, Buildings & Structures, Ships, and Prop assets and as I mentioned earlier, those were then divided up amongst the volunteers based on the time and effort they were willing and able to put into it. Our scene does have a tremendous amount of assets, and I believe that is a big part of what makes it so unique and immersive. We are also working on a VR version as well as several people in the group have been playing around with Occulus and Vive VR kits, and we thought it would be cool to have a version that runs in VR, so we are currently trying to get that finished as well. You can run around with a blaster (or a hidden weapon that you have to find) but we were unable to enlist the help of any character artists, so the only characters in the environment with you are a bunch of Astromech droids and a few Gonk droids. It’s not really a game, more just an interactive fan art piece.

#Mos eisley star wars download

We are currently about 90% done, and our ultimate goal is to finish it, and put it up on the internet for people to freely download and enjoy.

#Mos eisley star wars free

Then I thought it would be neat to add the interior to the docking bay, and then maybe some of the surrounding Mos Eisley city, then I thought “hey, let’s put the Mos Eisley Cantina in as well!” It was at this point that I realized the scope of this project had grown beyond my ability to finish it by myself, so I extended an invitation to several of the artists working with me at Obsidian to help out with this project in their free time, and I got many very enthusiastic YES responses, so I divided up the work based on the time and effort commitments that volunteers were willing to put into it. Originally it was just going to be the Falcon sitting in Docking Bay 94 so I could run around and look at it in real-time. Brian Leleux, one of Obsidian’s primary lighting artists, and several others. Ken LeSaint & Thad Clevenger, two more senior artists from various industry backgrounds. Craig Marschke, another senior artist from the Call of Duty realm and the fondly remembered Novalogic era.

A few of note are Terry Hess, another senior artist who has worked on several Call of Duty titles and also worked for EA on Medal of Honor and Battlefield 4. As I mentioned previously, in addition to myself we have several other artists, most with over 10 years of experience, working with me. I also took a brief hiatus from making games back in 1999 & 2000 to work on the Starship Troopers Animated television series. I have contributed to many games over the years, some of the more notable titles are Enter the Matrix, and The Matrix Path of Neo, SOCOM 4, Medal of Honor Warfighter and a brief stint on Battlefield 4 DLC, and Armored Warfare. I myself have been working in the games industry for over 21 years, with a broad range of studios, from small start-ups early in my career, to some of the larger publishers/developers such as Sony and EA.